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Clay's Tectonic Shift focuses on artists John Mason (b. 1927), Kenneth Price (1935-2012), and Peter Voulkos (1924–2002) and their radical early work in postwar Los Angeles where they formed the vanguard of a new California ceramics movement. The three artists broke from the craft tradition that emphasized the function of a piece. Experimenting with scale, surface, color, and volume, their work was instrumental in elevating ceramics from a craft to a fine art. Earlier exhibitions and publications stated that key innovations in this new ceramics movement were made at the Otis Art institute and that its direction was defined by a group of students surrounding the charismatic leader Voulkos. The truth is that the new trend in ceramics was driven by the works that Price, Mason, and Voulkos made in a subsequent, independent phase when they were working as professional artists in Los Angeles, and the goal of Clay's Tectonic Shift is to correct that misperception. These three artists followed individual paths as they willfully propelled a new use of the medium into the mainstream professional arena, where it was widely recognized and documented. An exhibition of the same name will be on view at the Ruth Chandler Williamson Gallery at Scripps College from January 21 through April 8, 2012, as part of Pacific Standard Time, a collaboration of more than sixty cultural institutions across Southern California to tell the story of the birth of the Los Angeles art scene.
Plate tectonics is a revolutionary theory on a par with modern genetics. Yet, apart from the frequent use of clichés such as 'tectonic shift' by economists, journalists, and politicians, the science itself is rarely mentioned and poorly understood. This book explains modern plate tectonics in a non-technical manner, showing not only how it accounts for phenomena such as great earthquakes, tsunamis, and volcanic eruptions, but also how it controls conditions at the Earth's surface, including global geography and climate. The book presents the advances that have been made since the establishment of plate tectonics in the 1960s, highlighting, on the 50th anniversary of the theory, the contributions of a small number of scientists who have never been widely recognized for their discoveries. Beginning with the publication of a short article in Nature by Vine and Matthews, the book traces the development of plate tectonics through two generations of the theory. First generation plate tectonics covers the exciting scientific revolution of the 1960s and 1970s, its heroes and its villains. The second generation includes the rapid expansions in sonar, satellite, and seismic technologies during the 1980s and 1990s that provided a truly global view of the plates and their motions, and an appreciation of the role of the plates within the Earth 'system'. The final chapter bring us to the cutting edge of the science, and the latest results from studies using technologies such as seismic tomography and high-pressure mineral physics to probe the deep interior. Ultimately, the book leads to the startling conclusion that, without plate tectonics, the Earth would be as lifeless as Venus.
Researchers in fields as diverse as geology, geophysics, atmospheric sciences, geochemistry, sedimentation/geomorphology, paleoceanography, and paleobotany present data and models that address and evaluate this premise.
Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price. Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.
This book provides a comprehensive and critical summary of clay mineral literature that relates to geology and geologic processes, making it useful both as a reference book for geologists and as a text for the specialist. The book encompasses the full scope of clay-shale geology. An introductory chapter provides basic background terminology and classification. This is followed by a relatively long chapter on the structure and composition of the various clay minerals. Chapter 3 provides an introduction to soil formation, chemical weathering, microbial alteration and the pedogenic formation of clay minerals. Chapters 4 and 5 cover the continental and marine transport, and deposition of clays. Both mechanisms and examples are presented, ranging from biodepositional to the nepheloid layer. Chapter 6 reviews data on the low to high temperature formation of clay minerals from marine volcanics, and the growth of authigenic clays in shallow marine, brackish, and evaporite environments. Chapter 7, Diagenesis Metamorphism, covers both burial diagenesis and the processes occurring during the conversion of shale to clay. Chapter 8 discusses the formation of authigenic-diagenetic formation of clays in sandstones. Chapter 9 describes the temperal distribution of clay minerals in North and South America, Europe, Africa and the Atlantic Ocean. The clay suites are related to factors such as continental drift, tectonics, climate and environment. The final brief chapter covers compaction, lithification and some general features of shales. The book is liberally sprinkled with x-ray patterns, chemical analyses, and SEM and TEM pictures, in addition to hundreds of examples.
Published by the Ruth Chandler Williamson Gallery, Scripps College in association with Getty Publications This richly illustrated exhibition catalogue features photographs by three Mexican women, each representing a different generation, who have explored and stretched notions of Mexican identity in works that range from the documentary to the poetic. Revolution and Ritual looks first at the images of Sara Castrejón (1888–1962), the woman photographer who most thoroughly captured the Mexican Revolution. The work of photographic luminary Graciela Iturbide (born 1942) sheds light on Mexico’s indigenous cultures. Finally, the self-portraits of Tatiana Parcero (born 1967) splice images of her body with cosmological maps and Aztec codices, echoing Mexico’s layered and contested history. By bringing their work into conversation, Revolution and Ritual invites readers to consider how Mexican photography has been transformed over the past century.
Taylor G. Petrey's trenchant history takes a landmark step forward in documenting and theorizing about Latter-day Saints (LDS) teachings on gender, sexual difference, and marriage. Drawing on deep archival research, Petrey situates LDS doctrines in gender theory and American religious history since World War II. His challenging conclusion is that Mormonism is conflicted between ontologies of gender essentialism and gender fluidity, illustrating a broader tension in the history of sexuality in modernity itself. As Petrey details, LDS leaders have embraced the idea of fixed identities representing a natural and divine order, but their teachings also acknowledge that sexual difference is persistently contingent and unstable. While queer theorists have built an ethics and politics based on celebrating such sexual fluidity, LDS leaders view it as a source of anxiety and a tool for the shaping of a heterosexual social order. Through public preaching and teaching, the deployment of psychological approaches to "cure" homosexuality, and political activism against equal rights for women and same-sex marriage, Mormon leaders hoped to manage sexuality and faith for those who have strayed from heteronormativity.